Museums

Monday, July 06, 2009

Earlier this year, the Czech Republic commissioned artist David Cerny to create a monumental sculpture to celebrate the nation's six-month stint as president of the European Union. The sculpture was to be a collaborative piece created by twenty-seven international European artists to celebrate the unity of the continent and was planned to be on display for six months at the European Council building in Brussels.

But when installation day arrived in January, the finished product, called ENTROPA turned out to be a politically incorrect nightmare and a headache for diplomats across Europe. The vast sculpture is a pieced-together map of the continent, each country represented by a sort of stereotypical caricature of that country's people or history.

For example, Germany is represented by a grey block intersected by autobahns that, some people say, resemble a swastika. France is draped with a sign that says, "Grève," or, "Strike!" One of the most controversial parts of the sculpture is Cerny's portrayal of Bulgaria
as a Turkish Toilet.

But perhaps the most outrageous part of the story is that, despite what the Czech Republic asked for, the sculpture was not at all a collaboration. Cerny and a small group of friends created the entire piece as a hoax meant, according to Cerny, to "find out if Europe is able to laugh at itself." Given the outcry against the piece, and its eventual early removal, the answer to that question seems to be a resounding NO. You can read more about the controversial piece here, and there is a full list of countries and their portrayals on Wikipedia.

Looking at Cerny's other work, it seems that this sort outcome should've been predicted when commissioning the piece, but I think it raises a larger question. This sculpture may have been intended to be satirical and humerous, but given the venue, not many people were laughing. Most felt that it was just inappropriate. Others would argue, however, that the sheer amount of attention the piece has gotten makes it successful. It has forced people to talk about stereotypes and cultural perceptions, so how could it be a failure?

My question is this. Satire is often offensive by nature. That being said, does it have a place in public art? Should the knowledge that a piece of public art will offend someone prevent it from being commissioned? What do you think?

Tuesday, May 05, 2009

A little over a year ago, a very large, very blue rearing mustang, aptly called BLUE MUSTANG, was installed on the road approaching Denver International Airport. During its construction, BLUE MUSTANG killed its creator, Luis Jimenez, when a large piece of the thirty-two-foot-tall sculpture fell on him, severing an artery in his leg. At night, the massive steed's eyes glow red, and are visible from miles away. This, combined with it's emaciated figure and it's killer reputation, has sparked a debate among the citizens of Denver about what they want out of the city's public art. The debate was well summarized in a New York Times article published in March.

As a Denver native, I don't love that this is the first piece of art that most visitors will see in Denver, but I also think the debate has gotten too inflammatory and negative. So what's your opinion? Do you love Jimenez's the low-brow, urban style or do you think it's too over the top for a municipal art program?

Friday, September 12, 2008

First Museum
Retrospective of Sculptor's Work Celebrates Publication of First Major Monograph
on Wein's Life and Work

(BOSTON - July 15,
2008) The Boston Athenæum presents
"Albert Wein: American Modernist," the first museum retrospective of the
sculptor's work. The exhibition opens on
Sept. 17 and runs through Nov. 29, 2008, in The Boston Athenæum's Norma Jean
Calderwood Gallery. The Boston Athenæum is located at 10 ½ Beacon Street on
Beacon Hill near the State House. Admission is FREE and open to the public.
Gallery hours are Monday 9 a.m. - 8 p.m., Tuesday through Friday 9 a.m. - 5
p.m., Saturday 9 a.m. - 4 p.m. For more
information, call (617) 227-0270 or visit www.bostonathenaeum.org.

Sculptor Albert Wein
(1915-1991) had both a keen interest in the human figure and an awareness of and
appreciation for modernist concepts, specifically abstraction. Today, scholars
are taking a closer look at artists such as Wein, who sought to balance the
legacies of the past with the excitement of the future. This exhibition will be
the first museum retrospective of Wein's work and is being held on the occasion
of the publication of the first major monograph on the artist's life and work.

According to
exhibition curator and art historian David Dearinger, "Scholarship and the
market are now in the process of rediscovering those American sculptors who came
of age during the 1930s and '40s. Many of these men and women were trained in
the traditional aesthetics of Classicism - they initially worked in the Art Deco
movement, gained experience through WPA projects, and ultimately helped bring
Modernism to America. Albert Wein was one of these artists, and it is exciting
for us to collaborate with the artist's estate in presenting this, the first
major exhibition of Wein's work."

Albert Wein was the
only son of artist Elsa Wein. Her early influence had a profound effect on the
creative course that he would take. When Albert was 12, Elsa enrolled herself
and her son in classes at the Maryland Institute of Fine and Applied Arts, a
major art school that adhered to the academic traditions of Classicism that
would continue to have an impact on Wein's work throughout his career. He once said that the main thrust of his work
was "to modernize and stylize the classical tradition."

Wein also
matriculated at the influential Beaux-Arts Institute of Design in New York. In the 1930s, he worked for the Works
Progress Administration (WPA), and in 1946 won the Prix de Rome, a distinguished
award that allowed him to study at Rome's American Academy. In Europe, Wein was inspired by the classical
art of Italy, and the work of his contemporaries, both European and
American.

In 1955 Wein moved to
California where -- besides creating sculpture for numerous churches,
synagogues, and private collectors -- he drew upon his experience of New York
theater. He designed sets for television
productions and was art director for the Ernie Kovacs Show. He experimented with a wide range of media and
explored figurative abstraction in both his sculpture and painting.

In the late 1950s and
60s, Wein followed the trend toward abstraction but returned to figurative work
in the 1970s. At that time he received the commission for the major
commemorative sculpture for the new Libby Dam in Montana (1973), the largest
granite relief in the United States. The commission prompted Wein to return to
the East Coast, where his family eventually settled in Westchester County, New
York.

During his long
career, Wein received most major American awards given for sculpture. In 1989 he
was awarded a residency fellowship to the Rockefeller Foundation's Study and
Conference Center in Bellagio, Italy. In late 1990 he completed a major
commemorative medal for Brookgreen Gardens in South Carolina. It proved to be
his last major work. Albert Wein died of cancer in 1991.

About the Boston
Athenæum

The Boston Athenæum,
founded in 1807, is one of the oldest and most distinguished independent
libraries in the United States. The building's first floor galleries are always
free and open to the public. The Library's Norma Jean Calderwood Gallery
features new exhibitions three to four times a year, and works of art from the
Athenæum's formidable permanent collection are on display on a rotating basis in
the public areas. Membership at the Boston Athenæum is open to all by
application. In addition to library borrowing privileges, members enjoy access
to beautiful research rooms with wireless internet access, and many events,
including concerts, lectures, book groups, children's story hours and a
delightful bi-weekly Athenæum afternoon tea. For information about membership,
visit www.bostonathenaeum.org.

The National Hispanic Cultural Center in Albuquerque
announces the opening of "Meso-Americhanics (Maneuvering Mestizaje) de
la Torre Brothers and Border Baroque" September 12, 2008, 6 p.m., with
a free public reception in the Center's Art Museum. On September 20, 2008,
brothers Einar and Jamex de la Torre will lead a free tour of their exhibition,
beginning at 1:30 p.m.

The National Hispanic Cultural Center is located at 1701 4th
Street SW on the corner of 4th Street and Avenida César Chávez.

La Belle Epoch, 2001

Baja Kali, 2001

Einar and Jamex de la Torre are a two-man bi-national
renaissance, traveling between National City, California and Ensenada, Mexico on
a weekly basis. Their parallel appreciation of both cultures and personal
experiences lead them to create art free of labels and feeds their desire to
preserve the survival of the possibility of doing something new. They translate
their creative passion and critical thinking into intensely collaborative,
opulent and monumental blown glass, mix-media works. And, even though their art
constantly addresses and questions complex issues, they love a joke, a visual
pun, hidden symbols and wordplay. "The National Hispanic Cultural Center
continues to establish itself as one of the premier art destinations in the
country," said Michael Cerletti, Secretary of the New Mexico Tourism Department.
"'Meso-Americhanics' promises to both entertain and stimulate all who see it. We
encourage all New Mexicans and their visitors to take part in this special
event."

For the de la Torre Brothers nothing - and everything - is
sacred, including politics, religion, tradition, and geographical location.
Visually and socially timely, Einar and Jamex de la Torre have their fingers on
the pulse of popular culture and excel in peeling off layers of the 21st Century
transnational world. Their edgy creations, fusions of glass, cast resin, popular
arts, video, and dollar-store treasures unmistakably defy designation and veer
into a new place that might be known as Border Baroque.

Center Visual Arts Director, Dr. Tey Marianna Nunn said,
"Wait until you see this incredible work - the de la Torre brothers are funny
and courageous. They mix up everything about their bi-national experience and
influences and spit it out."

The brothers were born three years apart in Guadalajara,
Mexico and moved to Orange County, California when they were in elementary
school. Nationally and internationally recognized masters of the specialized
technique of glass blowing, both brothers studied at California State University
in Long Beach and taught at the preeminent Pilchuck Glass School in Stanwood,
Washington.

Recipients of numerous awards, they recently were honored
with both 2007 Louis Comfort Tiffany Foundation Award and the 2007 Joan Mitchell
Foundation Award. "Meso-Americhanics" is organized by the Center's Visual Arts
Program and the Museum.

For a complete listing of programs and activities at the
National Hispanic Cultural Center call 505-246-2261 or visit www.nhccnm.org.
Art Museum hours are Tuesday-Sunday, 10 a.m. to 5 p.m. Admission is $3 for
adults, $2 for seniors and free for children ages 16 and younger. The Center is
dedicated to the preservation and promotion of Hispanic arts and culture at the
state, national and international levels and is a Division of the Department of
Cultural Affairs.

Friday, April 11, 2008

If you're on the West Coast and need an excuse for a long weekend away, here are two options of note:

Feats of Clay XXI, Lincoln, CA

The historic Gladding Bean terra cotta factory in Lincoln, California opens to visitors once a year during the annual Feats of Clay ceramic sculpture competition and exhibition, this year from April 26 through May 25.

Visitors will learn
about the special characteristics of Lincoln clay, take a look back in
history to see how Gladding McBean’s skilled artisans sculpted enormous pieces
of art for architectural facades, and will become aware of the company’s
basic production of ground pipe, roof tiles and garden pottery. They will
stroll by the twenty-two massive beehive kilns and visit the historic molding
room. In addition, art lovers will get to view over seventy pieces of ceramic sculpture, most of which are for sale.

This year's award winners, chosen by juror Judith S. Schwartz from more than 1,100 entries, include Gabriel Pargue, Portland, Oregon; Porntip Sangvanich, Los Angeles; Shane Keena, West Henriette, New York; and Jeff Irwin of San Diego.

Reservations are
required for tours and can be made by calling the Lincoln Arts Council,
organizers of Feats of Clay, at (916) 645-9713. Entry fee is $10. Visitors
must be age ten or older and should wear comfortable shoes as tours last
about ninety minutes and require much walking.

Proceeds from the event benefit the Lincoln Arts and Culture
Foundation, supporting local cultural programs, including a summer concert
series, after-school art classes, and school arts programs. For more info, visit their website.

Maryhill Museum of Art, Goldendale WA

Maryhill Museum of Art will present its annual
Outdoor Sculpture Invitational May 10 - October 31, 2008. The exhibition
features large-scale works in a variety of media by Northwest artists Gregory
Glynn, Stuart Jacobson, Alisa Looney, David Miller, Dennis Peacock, Mylan Rakich
and Tom Urban. Exhibiting artists and Maryhill's curator of exhibits, Lee
Musgrave, will lead an exhibit walk on Saturday, May 17 at 4 p.m. as part of the
museum's Members' Day festivities. Admission to the museum's sculpture garden is
free.

In addition to
works in the 2008 Outdoor Sculpture Invitational, visitors to Maryhill can also
see sculptures from the museum's collections that are on permanent display: on
the grounds -- works by Brad Cloepfil, Tom Herrera, Mel Katz, Heath Krieger,
Jill Torberson, Julian Voss-Andreae, Jeff Weitzel and Leon White, and in the
museum -- Auguste Rodin.

Perched on a
stunning 5,000-acre site overlooking the scenic Columbia River Gorge, Maryhill
Museum of Art contains a world-class collection of artwork ranging from
early 20th century European works to Native American objects. This
award-winning museum, founded by Northwest entrepreneur and visionary Sam Hill,
opened to the public in 1940. Outside the museum is an Outdoor Sculpture
Garden, Lewis and Clark interpretive panels, and a life-sized replica of
Stonehenge.

The museum is
open daily from 9 a.m. to 5 p.m., March 15 to November 15. Admission fees are $7
for adults, $6 for seniors and $2 for children age 6-16. Maryhill is located off
Highway 97, 12 miles south of Goldendale, Washington. Drive times to the museum
are 2 hours from Portland/Vancouver, 3.5 hours from Bend, 4 hours from Seattle,
and 1.5 hours from Yakima. Visit www.maryhillmuseum.org for more
information.

Monday, March 03, 2008

This past weekend we visited the latest show at the Denver Art Museum. Inspiring Impressionism is a collection of more than 100 paintings and works on paper from seventy museums and private collections, some of which have never before traveled to the United States. While the subject matter led me to expect masterpieces by Monet, Manet, Renoir, and Van Gogh, I was surprised to see a large collection of Old Masters exhibited side-by-side with the later works. The show explored the influence of Titian, El Greco, and others on the Impressionists and inspired interesting dinner conversations later.

This is more of a thinking person's show than the usual Impressionist blockbusters we're used to experiencing. You won't see all of your favorite postcard images here, but you will gain an understanding of how the painters of the late nineteenth century learned and developed a style based on the compositions and techniques of those who came centuries before.

The show runs until May 25 and timed tickets are available at the museum web site or by phone at 1-866-942-2787 (1-866-942-ARTS) from 9 a.m. to 5 p.m. MST daily. A service fee will be added to online and phone orders. Ticket prices (which include a self-guided audio tour with adult and children's versions) are $20 for adults, $17 for seniors and college students, $12 for youth. Members receive free admission and can pay four dollars for the audio tour.

Tickets also include admission to the museum, and if you haven't visited the new Hamilton wing designed by Daniel Libeskind, you're in for an experience.

Wednesday, February 27, 2008

"Landscape has been for me one of the sources of my energy...I find that all natural forms are a source of unending interest - tree trunks...the texture and variety of grasses...The whole of Nature is an endless demonstration of shape and form." - Henry Moore, Energy in Space, 1973

The New York Botanical Garden will host the largest outdoor exhibition of Henry Moore's sculpture ever presented in a single venue in America. The collection of approximately 20 major pieces will open at the Botanical Garden on May 24, 2008, during the height of the spring flowering season. These magnificent works will be positioned throughout the Garden's 250 acres and among its 50 gardens and plant collections and will remain on view through November 2, 2008.

Henry Moore, born in 1898 in Castleford, Yorkshire, is one of the world's best known and most beloved 20th-century sculptors. Moore's first solo show of sculpture was held in London in 1928. In 1943 he received a commission from the Church of St. Matthew, Northampton, UK, to carve Madonna and Child, the first in an important series of family-group sculptures. Moore was given his first major retrospective outside of England by the Museum of Modern Art, New York, in 1946. He won the International Prize for Sculpture at the Venice Biennale of 1948. In 1963 the artist was awarded the British Order of Merit. Moore died in Much Hadham, Hertfordshire, in 1986.

Henry Moore intended that his monumental works of sculpture be presented in expansive landscapes so that their mass and size could be seen from many angles, in great variety of light, and in differing seasons. He wanted people to get up close and touch them. The New York Botanical Garden fits his intent perfectly, offering sweeping, undulating terrain, diverse plant collections, and captivating gardens with the appropriate scale and beauty to complement his sculpture. One of the finest botanical gardens in the world and the most treasured and beloved landscapes in New York City, it offers appealing outdoor venues for such an exhibition, including the vicinity surrounding the landmark Enid A. Haupt Conservatory, the Beaux-Arts Library building with its expansive lawns and a cathedral-like tulip tree alleé, two spectacular conifer collections, and one of the finest rose gardens in America.

New York City, as one of the world capitals of art and culture, is filled with people who know and love the work of Henry Moore, appreciate compelling art, and are committed museum goers. The combination of fine Moore sculptures and the spectacular Garden settings will draw New Yorkers as well as visitors with great enthusiasm to this exhibition, which travels to the Atlanta Botanical Garden in 2009.